B007P4V3G4 EBOK

by Richard Huijing

  He presses the button on the side of the mill and so silences it. He removes its plastic lid and puts a disc of thigh bone inside. Then he pulls out the drawer at the bottom, throws the bone, ground to powder, in a pan and switches the mill back on. He picks up the pan, fetches a spoon from the drawer and walks to the living room. He puts a chair in front of the stove, sits down on it with the pan clamped between his thighs and he opens the little door of the stove. Slowly, Herbert stirs the bone meal, makes little mounds and draws arabic characters in it. In the flickering fire light, it's just as though there's life in it, as if it's a pan full of little, yellow spiders. Then, a spoonful at a time, he sprinkles the meal on to the fire.

  It's a bit damp, he thinks. But I could hardly dry it first, now could 17

  It emanates sulphur-like fumes, with poisonous blue flames coursing through. He flings the little door shut. The peaceful scent of a village smithy settles in the room.

  Herbert wakes up in the morning with the smell of burnt horn in his nostrils.

  Ah yes, the bone, he thinks. I was busy till ever so late, yesterday. But I'm rid of the lot. Air the place first in a minute, and then take a peek what the ash looks like.

  He raises his right leg so the cold air streaming in at the footend wakes his body, and he looks at the bedside table.

  'Such a liberation,' he says, yawning. 'Only one glass with dentures.'

  Then, in a single sweep, he flings the blankets aside and jumps out of bed. He walks over to the window and draws back the curtains. It's snowing. He stands there ill at ease in the marble light, looks up at the snowflakes floating down like grey ash, to be cleansed only in contrast with the houses opposite.

  The meat, he suddenly thinks with a shock, the meat has been snowed under.

  He walks quickly to the hall and climbs the steps. When his head emerges above the edge of the hatch, the light blinds him. On top of his head, he feels the chill kisses of the snowflakes. In front of him is the tray. Empty. There's a thin layer of snow on the bottom, tinged pale pink by the blood that has stayed behind on the bottom as though it had stood beneath a flowering sweetbrier. It fills him with shame, shame without remorse. When he removes the tray, a reproachful dark square of tar and shingle remains like a freshly dug grave in the snow.

  In the kitchen, he puts the tray in the sink and rinses out the snow and blood with hot water. A few toe nails stay behind on the grid above the plughole. The hungry birds have left no more than that.

  Let's not get sentimental now, he thinks, picking up the nails and tossing them among the wet tea leaves in the enamel sink tidy. Raskolnikov was a worthless character. Precisely because of his weakness, his conscience. Or perhaps one is allowed to have a conscience but only regarding Is a conscience not the most covert of stimulants? The outside world, however, must notice nothing of it.

  Rubbing his wrists together, he walks over to the refrigerator and draws it open. He halts, rigid with fright. Liesbeth's sitting just the way he set her down there yesterday, but her glasses no longer cover her eyes: she's holding them in her right hand. In a panic, he runs to the door. It's shut; it's even bolted. Then he walks to the back room and tests the balcony doors.

  I must have done it myself, he thinks. I've been sleepwalking. But no, I surely would have known in that case. I always do, don't I, when I've been up in the night and what I did then?

  But now he remembers it was Liesbeth who always told him.

  She would follow me with a wet floor cloth which she put in front of my feet. But I would always step over it. And she'd be picking it up and laying it down in front of me again. Just like a king being received in state. Where's the cat: where's Peter?

  Nervously he goes through the house, searches all the cupboards, but he cannot find the creature anywhere.

  Riddles at every turn in this place. Cats disappear, women disappear, I walk the house at night, my arms stretched out in front of me like a blind man. Dangerous, too! Tonight I'll tie myself down to the bed bars. No, I might have an unlucky fall in that case. Then, suddenly, a story from the Old Testament pops into his mind. One of ash sprinkled round the altar in which they found the footprints of the greedy priests next morning. I'll sprinkle a thin layer of flour on the kitchen floor, he thinks. I mustn't go imagining all kinds of things. It's too ridiculous for words. Nobody can get in. And who would benefit by taking off Liesbeth's glasses? Who'd want to open her eyes to what I have inflicted on her?

  Reassured, he walks to the refrigerator and places the glasses back in front of the half abandoned eye sockets. Then he drags her round ninety degrees and cuts off her left leg.

  It's becoming -a routine job now, he thinks. The same actions as yesterday. The two arms tomorrow, the trunk in halves, across, the day after: only leaves the head for Saturday.

  Abstracted, he begins to cut into the leg.

  Just look what I'm doing, he thinks. Such elegant curves. Yesterday, I began to cut clumsily; as time went by I was cutting splendid, straight strips. Now I'm cutting capricious pieces. Just like in Art. Art, too, is refractory and clumsy at first. Then you get classical harmony, the straight strips of drab-pink flesh. I'm going through the Baroque now. Tomorrow, perhaps, I'll be cutting scrolls and elegant figures and I'll be the Watteau of corpse desecration.

  I was at primary school, Herbert thinks, in the fourth form. I must have been ten at the time. I was ten years old when it started. Or much earlier on even: who knows? How is it possible for one to find one's vocation so late? Across from me, at her desk, sat a girl with long, dark hair and spirited, brown eyes. Bent over my work, I turned my head sideways and looked at her profile. Then I looked at her tummy, going up and down like thick, boiling porridge in her tight dress. At night, in bed, I would think of her. I would take her to a lonely house where I tied her hands behind her back. A meat hook hung from an iron bar on the ceiling. I suspended her from it by the roof of her mouth. She sought to speak but I only heard her bottom teeth tap against the hook like a woodpecker hidden in the woods. She wanted to say: you're sweet to me even though you hurt me. I was lying on my belly. With my lower torso I slid back and forth on the sheet. I was covered in a gory membrane in which I threatened to suffocate. Like a child born with a caul. Wasn't I born with a caul? Mother said that at my birth the placenta was stuck to my skull like a Russian fur hat.

  When Herbert opens the hatch the sky, mottled drab and yellow, is stretched above the city like the soiled sheet of an incontinent child. An army of mediaeval knights pokes its helmeted, brick face, smoking, above the white hills of the roofs. Swans float like white islets on the dark pond in the park. Great black-backed gulls sit equidistant from each other on the edge of the roof. When Herbert lets the tray of meat down into the soft snow, they approach, hesitantly. Halting a few metres away from the tray, they stare at Herbert, soullessly, with their fierce, yellow, artificial eyes.

  'I'll withdraw, lads,' he says, 'so you can dine in peace.'

  He pulls the hatch shut over his head and fixes the catches.

  Mind I don't forget to lock everything properly and sprinkle flour in the kitchen before I go to bed. I must have an early night: these are tiring times.

  Above his head he hears the frightful shrieking and gorging of the hungry birds.

  In the depths of night, Herbert wakes from the cold. He is lying on top of the blankets. He sticks his feet up in the air and looks at the soles of his feet.

  'Gotcha,' he says loudly. 'I've caught myself out. Just as if I've got perspiring feet and they've been rubbed with talc.'

  He brushes them. The flour sticks to his fingers like dough. Startled, he jumps out of bed.

  My feet must have been wet before I stepped in the flour, he thinks.

  Quickly, he walks to the kitchen. There are his footprints. His eyes crowd with fear against the top of their sockets. Among his prints he sees a damp square, and another, and the floor cloth in front of the fridge. The cat's prints run alongside his. Hurriedly he goes over to the re
frigerator. The meat tray's up against the wall, opposite Liesbeth. He looks at the hallway door. He sees by his prints that he has been back and forth through the door. He sees the cat's tracks too, but just one way. He walks over to the hallway door and opens it. Freezing cold envelops his body. Herbert goes to the hatch; the steps are underneath. When he looks up, he sees the stars in the carbon black sky. He clambers up and sticks his head into the East wind. Right in front of his eyes, in the snow,.he sees the tracks of the cat.

  He's been right behind me, Herbert thinks. He knows everything. He's been spying on me from an untraceable hiding place. But he's up on the roof now. By the tracks I can see he hasn't turned back.

  He fills his hands with snow and rubs his face with it.

  I must keep a cool head, bring things to a close quickly. But let's tackle the genever bottle first.

  He retreats a few steps and closes the hatch.

  Warily, Herbert crosses the square, looks up at the windows of his apartment.

  It looks uninhabited, he thinks. The lace curtains are yellow with brown rings. Is that something moving there, behind the curtains? He shakes his head and pats his cheeks with his fingers. I mustn't turn into a shying horse. I can see from here the window's ajar. The wind'll be stirring the curtains. How long has it been open? Bad for the plants. I'll shut it before I leave. Liesbeth's head's been standing on the roof for eight hours already. If it's not completely stripped by now I'll leave it there till tomorrow morning; then I'll wrap it in plastic and put it in my suitcase. I'll set it down among the cobbles along the Dordogne.

  He feels in his pockets for the key and looks up. The chests of the seagulls protrude over the edge of the roof as though they are part of the building's trimmings.

  'You'll miss me,' he mutters. 'Tighten your belts: that's all I can recommend.'

  Right by his feet, on the pavement, lies a dirty-white sphere. Herbert bends down and picks it up.

  Don't look round, he thinks, I'm just picking something up; everyone does that from time to time. And I've even read that they peck the eyes out of babies lying unguarded on the beach, and devour them.

  He puts his key in the lock and enters the dark stairwell.

  It feels like the devil's egg of a stinkhorn, he thinks. I'm still able to walk up the stairs, but I've got to take my time over it.

  The front door opens behind him. A neighbour comes in; she halts at the letter box.

  'Such a long time I haven't seen your wife,' she says. 'Has she got to stay in again?'

  'I took her to the train last week; she wasn't feeling too well; she's gone South.'

  'Taken the Sun Express to the deep blue sea?' the woman asks.

  'Quite, quite,' Herbert replies. 'To the deep blue sea. I'll be following her tomorrow:

  Carefully, he slips off into the dark stairwell.

  That eye was as hard as a billiard ball this morning, he thinks, clenching his fingers. Now it's soft and squishy. There's a thaw on: Spring has sprung.

  Arnold Aletrino (1858-1916), doctor and lecturer in criminal anthropology, campaigner on behalf of prostitutes and homosexuals, author of naturalist prose. 'In het Donker' ('In the Dark'), written in 1885, was included in Novellen of 1895.

  Jan Arends (1925-1974) wrote short stories and poetry, often with a psychologically disturbed slant. In 1974, on the day of publication of his latest collection of poetry, he ended his life by leaping from his apartment window. 'Het Ontbijt' ('Breakfast'), first published in 1969, appeared in the collection Keefrnan of 1972.

  Maarten Asscher (*1957) is a lawyer and publisher. 'Het Geheim van Dr Raoul Sarrazin' ('The Secret of Dr Raoul Sarrazin) can be found under the title 'De Brief' in his first published collection, Dodeneiland (1992).

  Belcampo (H.P. Schonfeld Wichers; 1902-1990) was a doctor and the prolific author of often fantastic tales. 'Uitvaart' ('Funeral Rites') was taken from Tussen Hemel en Afgrond (1959).

  Huub Beurskens (*1950) is the author of poetry, prose and criticism. 'Hoogste Onderscheiding' ('Highest Honours') appeared in his 1991 collection of short stories Sensibilimente.

  J.M.A. Biesheuvel (*1939) writes short stories, often autobiographical, at times capricious, imbued with a sense of dark, brooding melancholy, chilling irony and wry humour. 'Brommer op Zee' ('Biker at Sea') has been taken from his first collection In de Bovenkooi (1972).

  Willem Brakman (*1922), a former company doctor and prize winning author, writes stories and novels often described as 'baroque' with regard to style and content. 'Het Evangelie naar Chabot' ('The Gospel according to Chabot') can be found in Een Familiedrama of 1984.

  Remco Campert ('1929), is the author of austere and often melancholy poetry, short stories and novels. 'De Verdwijning van Bertje S.' ('The Disappearance of Bertje S.') appeared in 1954 in the collection Alle Dagen Feest.

  Louis Couperus (1863-1923), one of the great masters of Dutch prose, whose classic novels such as 'Van Oude Menschen, de Dingen die Voorbijgaan' ('Of Old People, the Things that Pass') and the great tetralogy 'De Boeken der Kleine Zielen' ('The Chronicles of Small Souls') have become part of the national heritage. 'Blauwbaards Dochter' ('Bluebeard's Daughter') and 'De Zoon van Don Juan' ('The Son of Don Juan'), first published in the daily paper Het Vaderland in Autumn 1915, were collected in Legende, Mythe en Fantazie of 1918.

  Johan Andreas Der Mouw (1862-1919) was a philosopher and poet who, in late middle age, adopted the new identity of Adwaita. 'De Heilige Vlinder' ('The Sacred Butterfly'), taken from among his juvenilia, was published for the first time only in 1962, by Ms. A.M. Cram-Magre in her thesis on the author.

  Lodewijk van Deyssel (K.J.L. Alberdingk Thijm; 1864-1952) was a critic and author of naturalist and sensitivist prose. 'Zonderlinge Dingen op de Vlakte' ('Curious Things on the Plain') is the first part of a review, taken from Verzamelde Opstellen. Zevende Bundel (1904).

  Inez van Dullemen ('1925) writes novels, short stories and travel books. Na de Orkaan' ('After the Hurricane') appeared in 1983 in a collection going by the same name, but was revised for the anthology of her work Een Kamer op de Himalaya (1990).

  Jacob Israel de Haan (1881-1924) was a Law scholar and the author of naturalist and decadent novels, journalism and poetry. In circumstances never quite adequately explained, he was murdered in Palestine in 1924 when posted there as correspondent for the daily paper Het Handelsblad. 'Over de Ervaringen van Helens Marie Golesco' (Concerning the Experiences of Helenus Marie Golesco'; 1907) is one of the so-called Nerveuze Vertellingen which only appeared in book form in 1981.

  Fritzi Harmsen van Beek (*1927) published a number of collections of exquisite poetry and short stories tending towards the bizarre and the absurd. Her story 'Het Taxivarken' ('The Taxi Pig') was taken from Wat Knaagt? (1968).

  Marcus Heeresma (1936-1991) wrote poetry, novels and short stories, some with a touch of the grotesque to them. 'Stortplaats' ('Dumping Ground') appeared in Robert-Henk Zuidinga's anthology of original horror stories Uit den Boze of 1984.

  A.F. Th. van der Heijden (*1951), published his early work under the pseudonym Patrizio Canaponi. He is currently at work on a huge cycle of novels known by its overall title of De Tandeloze Tijd. Like almost all Van der Heijden's work, 'Pompeii Funebri' enjoys kinship with the novel cycle and can be pencilled into its ground plan as sketch material distantly related to the as yet uncompleted volume III of the larger work. 'Pompeii Funebri', too, was first published in the anthology Uit den Boze (1984).

  Jan Hofker (1864-1945), like Trollope, was employed by the Post Office for most of his working life. He wrote sketches and short stories of which 'Koediefje' ('Rustler'; 1892) has been included here. His stories were collected in Gedachten en Verbeeldingen of 1906.

  Frans Kellendonk (1951-1990) was one of the most formidable talents among the generation of Dutch writers bom in the early 1950s. An English scholar and an exceptional stylist of Dutch, he wrote essays, novels, a novella, criticism and short stories, as well as a number of literary translations from English,
the last of which, Emily Bronte's Wuthering Heights, which he managed to see through the presses while battling with Aids, must be ranked among the most sensitive and finely crafted renderings of that work ever to be achieved in any language. His 'Dood en Leven van Thomas Chatterton' ('Death and Life of Thomas Chatterton') was taken from Namen en Gezichten (1983).

  Anton Koolhaas (1912-1992), was a critic and the author of novels, film scenarios and superlative tales of animals which have become classics of Dutch literature. 'Balder D. Quorg, Spin' ('Baldur D. Quorg, Spider') appeared in 1958 in the collection Er zit geen Spek in de Val.

  Frans Kusters (*1949) is a writer of short stories. 'De Volledige Diagnose' ('The Full Diagnosis') has been taken from Het Chaplinconcours of 1980.

  Harry Mulisch (*1927) is one of the most exceptional authors of his generation as well as one of the most versatile, with major works in almost all forms of literary creation: fiction, critical and scholarly prose, drama and philosophy. A deeply thoughtful writer of finely honed, incisive yet quite austere prose, his voice is painfully well suited to address the issues surrounding World War II, its essence and nature as well as its consequences, as demonstrated in probably his most widely known novel at home and abroad, 'De Aanslag' ('The Assault') of 1982. 'De Versierde Mens' ('Decorated Man') was taken from a collection of the same name, published in 1957.

  Carel van Nievelt (1843-1913) was a civil servant, a journalist and the writer of sketches and tales. 'Dolende Zielen' ('Souls Errant') can be found in the collection Ahasverus of 1889.

  Helene Nolthenius (*1920) has been a professor of music history and writes novels and short stories. 'Omzien als Wapen' ('Looking back: the Weapon') has been taken from De Steeneik (1984).